New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-02-02

OF the tecnlnal descriptions Is more interesting
than profitable. The authors attitude toward his
subject Is that Of a student of "the ideal WHICH
gave birth to Flemish art," and this study OF aro
as means Of expression gives character ana Vaiuc
to his book Occasionally Ruskin's influence !"
suggested In the ideas rather than In the manner
but the suggestion Is slight. Chapters upon INC
guilds, the rise Of landscape painting ana tapeS
tries are included and the volume as whoie ID
one Of the best OF recent art books intended 1or
the general reader rather than the special souue'
The qualities of general interest, thoughrulness
and comparative freshness Of material when ois-
tinp1Ijsh Mr. Conway's book In its class are want
i,y IN tho yicomte Henri Delabordes history of
engraving This belongs to the F1ne Ae Ii
brary," @ series presenting many Vadlations 'uo
one type the conventional handbook summary OF
facts and dates The author Of this volume is,
we believe, the secretary Of the French Academy
of Fine Arts, and he is collector and writer OF
some note. It is unfortunate that he must be held
responsible for jumbled compilation like this.
Within less than 800 pages he has attempted to
compress the histories Of line and cOppcr-plate en-
craving, etching, mezzotint and wood engraving
The result is not worth analysis. Add to this
that the author is obstinate partisan of line
engraving and the value Of his history may be
understood.
10 is perhaps characteristic rather than
surprising that the authors Imperfect
knowledge of art outside Of France should have
nccessitated chapter upon English engraving by
Mr. William Walker. NJ Deaborde makes some
feeble attempts 30 treat foreign art, but his sue
cess can be inferred from the fact that America is
entirely ignored in his mention OF modern wood
| engraving. Neither does he mention American
etching. Rarely is such length and breadth
and depth Of ignorance shown in one sentence AS
in his statement that MOSTLY mezzotints or aqua
tints the prints sold in New-Yorx and New Orleans
suggest that their authors only wished 10 appropri
ate best they could the present fashions and
methods of English engraving" There is the fine
flavor of the English book upon America In his
calmly superior remark that at is best simply to
state what American engraving is and must be
until a master arises" 10 is perfectly true that
line engraving has declined here as it has every
where despite NJ. Delaborde's vehement cham
pionship. But Mr.. Walker comes To his rescue
with brief summary Of American line engraving
apparently derived from Baker, and with mention
of some of the American ctcliers who are members
of tho London Society OF Painter-Etchcrs. The
list is scanty and Mr.. Chapman's name is wrongly
placed. but this is better than nothing. Mr.
Walker also acknowledges that an delicacy OF
work and elaboration of detail Amer
wood-cngravcrs,7 although he criticises
them "as attempting too much NJ. Della
bordes ignorance of foreign art, ms we have said.
may not be surprising, although unpardonable IN
an authority" but his sins of omission in speak
ing Of French art most extraordinary. With
evident difficulty he turns from his e'logies OF
Henrique and other modern lineensravera to a.
knowledge in few vague phrases bhc modern
renaissance of etching in France. But he never
mentions even The name Of Flamcnr, founder OF a
school called by lIamerton the greatest since the
school of Rembrandt The pupils OF this school
are ignored. or the greater French palnler-ctch-
ers of the last generation the only one mentioned
is Jscquemart. 1t is vain to look in NJ. Della
bordc's "history" for even the names OF Meryon
.Iacque, Fortuny, Mllet Daubigny or Others whose
absence forms perhaps the severest condemnation
Of NJ. Delaborde's slipshod and prejudiced compila